DOI Page / Citation link:
https://doi.org/10.11588/diglit.20658#0180
166
LANDSCAPE AND ARCHITECTURE.
in this respect is not of snch vast importance nor so easily detected as in an historical picture ;
it is perhaps from hence that the practice of landscape has had so many votaries, independently
of the delight it yie!ds,to spectators of every class.
Landscape is not only equally interesting with the other parts of the art, but it is as delightful
and deceptive; by the nature of its objects not only as agreeable but also as intelligible as any
other branch of the painter's study ; and from the variety of its subjects furnishes a perpetual suc-
cession of pleasure and satisfaction.
Landscape is generally divided into two parts distinguished by their styles; namely the heroic or
historical and the rural; to which some have added a third composed of views of particular places.
The historical style selects for its objects every thing grand sublime and beautiful, within the
compass of-the creation, that in any manner suits its purpose. In representing the scenes of
common life the objects continually in our view lose their effect by their familiarity, and are in-
capable of producing any considerable impression on the mind. The heroic style therefore
chooses rare and unusual subjects, situations which are not often met with in nature, and combina-
tions of objects very often the pure creation of the artist's genius. But besides novelty this style
requires beauty and if possible sublimity, otherwise a composition may disgust rather than please.
These qualities are found only in commanding situations and in bold projections. Almost every
thing that is beautiful or sublime in the works of nature is admissible into this style ; whether the
effect arises from their forms sizes situations or the ideas we have been accustomed to entertain
of them, as stately trees, extensive forests, boisterous rivers, cataracts, the ocean, masses of rocks,
stupendous mountains, &c.: or among the works of art whatever is beautiful grand solemn, noble
fabrics, sacred temples, palaces, and in general all ruins or ancient buildings which, by the con- •
sent of mankind, possess a degree of veneration from their antiquity; the lofty turret, the ivv-
mantled tower, the consecrated aisle, the melancholy tomb, and whatever else tends to impress
vigorous sensations on the spectator's imagination. It resigns the common scenes and objects
of life to the rural style, and seeks to rouse and rivet the attention by what is truly great and noble.
The rural style is more universal, and more generally adapted to the faculties of mankind, than
the heroic. Pew are able to perceive the beauties of a grand and sublime composition ; but many
are greatly delighted with a literal representation of nature, particularly if it conveys ideas of
festivity and mirth. For this reason the painter of rural landscape chooses the gay scenes of pa-
storal life ; the humble cottage, the busy mill, the verdant fields, the occupations of peasants, the
sports of nymphs and swains, and the other uncontrolled enjoyments of nature, the liberty and va-
riety of her productions, which are always new and interesting. The sportinglambs, plodding oxen,
and every other member of a well cultivated farm, all these, and every scene situation employ-
ment character and figure which can occur in pastoral life are the proper objects of the
painter who possesses this style. His object is not to strike the spectator with admiration, and
to inspire him with grand and sublime ideas, as is the intention of the heroic painter; his ad-
dress is to the more familiar and gentle passions; his subjects are also of a similar nature. He
endeavours to please the spectator by a faithful display of those scenes and objects with which
he is familiar; instead of rousing his attention by the grandeur and novelty of nature.
That part of landscape which represents views of particular places may be considered, with re-
gard to the other parts of this subject, in the same light as portraits are in historical painting.
Those are nothing but the portraits of places as these are of individuals. A great part of this
branch falls under the most mechanical department of the art, as views of cities, villages,
ham-
LANDSCAPE AND ARCHITECTURE.
in this respect is not of snch vast importance nor so easily detected as in an historical picture ;
it is perhaps from hence that the practice of landscape has had so many votaries, independently
of the delight it yie!ds,to spectators of every class.
Landscape is not only equally interesting with the other parts of the art, but it is as delightful
and deceptive; by the nature of its objects not only as agreeable but also as intelligible as any
other branch of the painter's study ; and from the variety of its subjects furnishes a perpetual suc-
cession of pleasure and satisfaction.
Landscape is generally divided into two parts distinguished by their styles; namely the heroic or
historical and the rural; to which some have added a third composed of views of particular places.
The historical style selects for its objects every thing grand sublime and beautiful, within the
compass of-the creation, that in any manner suits its purpose. In representing the scenes of
common life the objects continually in our view lose their effect by their familiarity, and are in-
capable of producing any considerable impression on the mind. The heroic style therefore
chooses rare and unusual subjects, situations which are not often met with in nature, and combina-
tions of objects very often the pure creation of the artist's genius. But besides novelty this style
requires beauty and if possible sublimity, otherwise a composition may disgust rather than please.
These qualities are found only in commanding situations and in bold projections. Almost every
thing that is beautiful or sublime in the works of nature is admissible into this style ; whether the
effect arises from their forms sizes situations or the ideas we have been accustomed to entertain
of them, as stately trees, extensive forests, boisterous rivers, cataracts, the ocean, masses of rocks,
stupendous mountains, &c.: or among the works of art whatever is beautiful grand solemn, noble
fabrics, sacred temples, palaces, and in general all ruins or ancient buildings which, by the con- •
sent of mankind, possess a degree of veneration from their antiquity; the lofty turret, the ivv-
mantled tower, the consecrated aisle, the melancholy tomb, and whatever else tends to impress
vigorous sensations on the spectator's imagination. It resigns the common scenes and objects
of life to the rural style, and seeks to rouse and rivet the attention by what is truly great and noble.
The rural style is more universal, and more generally adapted to the faculties of mankind, than
the heroic. Pew are able to perceive the beauties of a grand and sublime composition ; but many
are greatly delighted with a literal representation of nature, particularly if it conveys ideas of
festivity and mirth. For this reason the painter of rural landscape chooses the gay scenes of pa-
storal life ; the humble cottage, the busy mill, the verdant fields, the occupations of peasants, the
sports of nymphs and swains, and the other uncontrolled enjoyments of nature, the liberty and va-
riety of her productions, which are always new and interesting. The sportinglambs, plodding oxen,
and every other member of a well cultivated farm, all these, and every scene situation employ-
ment character and figure which can occur in pastoral life are the proper objects of the
painter who possesses this style. His object is not to strike the spectator with admiration, and
to inspire him with grand and sublime ideas, as is the intention of the heroic painter; his ad-
dress is to the more familiar and gentle passions; his subjects are also of a similar nature. He
endeavours to please the spectator by a faithful display of those scenes and objects with which
he is familiar; instead of rousing his attention by the grandeur and novelty of nature.
That part of landscape which represents views of particular places may be considered, with re-
gard to the other parts of this subject, in the same light as portraits are in historical painting.
Those are nothing but the portraits of places as these are of individuals. A great part of this
branch falls under the most mechanical department of the art, as views of cities, villages,
ham-